It was the second consecutive year that HSL has worked on the event, produced by Loudsound Events and production managed by Lee Charteris. HSL's crew chief Ian Stevens headed a strong team of Steven Abbiss (LD Main stage), Davey Sherwin (LD Clash stage), Rob Starksfield, Rick "Avo" Butler and Andy "Paris" Hilton. The production lighting design for both stages was created by HSL's Mike Oates, who also project managed.
The Main stage was a Serious Structures Solar Roof below which HSL sub-hung four trusses for lighting. This was headlined by Fatboy Slim on the Saturday and Razorlight on Sunday. All the moving lights on this stage were Robe ColorWash 700 and 1200E ATs and ColorSpot 700 and 1200E ATs, chosen for their brightness and reliability in outdoor environments.
The back and mid trusses both featured six ColorSpot 1200s and six ColorWash 1200 fixtures plus four Martin Professional Atomic strobes. The front truss had eight ColorSpot 1200E ATs, sixColorWash 1200E ATs, six ETC Source Four profiles, and either side were double hung runs of trussing rigged with a total of six Robe ColorWash and six ColorSpot 700E ATs.
For Fatboy Slim's set, for which Abbiss also operated, he added 16 JTE PixelLines to the mix which were positioned vertically upstage. Abbiss controlled all lights using an Avolites Diamond 4 console.
Fatboy bought in his own video visuals and five lasers for his show, and HSL supplied copious amounts of smoke and haze and three Robert Juliat Cyrano follow spots for this stage.
An additional 'advanced' truss was rigged to contain Razorlight's illuminated sign that bordered the stage for their performance, with its upstage side rigged with two bars of 6 PARs, specified by their LD Max Conwell. He operated their show with his own grandMA console and an additional floor based lighting package. Main stage sound was supplied by SSE and video hardware by PSL.
The Clash tent was headlined by The View (LD Brian Mandeville) on Saturday and Underworld (LD Haydn Cruickshank) on Sunday. HSL installed a 12 x 9m JTE spiggoted ground support system, which was both a challenge and a balancing act because of the uneven ground. The ground support also incorporated PA wings allowing audio suppliers Project Audio to hang their arrays.
(Jim Evans)
